“”All The Boys Love Mandy Lane” is an interesting horror film, though unfortunately its biggest draw is the story of its distribution.”
I went into Jonathan Levine‘s “All The Boys Love Mandy Lane” not quite knowing what to expect, though it did have some pretty decent buzz.
Though what I found most interesting was that the film sat on the shelf for seven years, which is a pity because ‘Lane’ is a cut above most slasher films. Most movies of this ilk you can pretty much tell who is going to die, and since the characters are paper-thin to begin with, their deaths barely make an impact.
Which is why the way they die has to be increasingly creative and elaborate: Otherwise, why would anyone bother watching?
The characters here feel more like actual people, which makes their deaths a bit unnerving because you aren’t quite sure why they deserved to be killed in the first place.
“All The Boys Love Mandy Lane” also seemed to evoke a different, more innocent time, which probably had more to do with the film sitting in limbo than any creative decision on the part of the director, though oddly enough the film, visually at least, benefits from it.
Beside the delay, the cinematography by Darren Genet is particularly noteworthy because the film, with the occasional shot of wide-open fields and sky, is oftentimes beautiful and looks bigger and more sprawling than it actually is.
Another thing I hadn’t encountered before was that one the characters that liked Mandy Lane, Bird (Edwin Hodge) was African-American, yet nothing was made of it.
Literally, he was just another guy that liked a girl who happened to be white.
And he didn’t rap, sing, or do things that writers tend to have African-American male characters do in movies, which was refreshing.